The 2 Key Elements That Make a Great Scene

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Writing great scenes takes a lot of practise and know-how. There are so many elements that must work beautifully, perhaps magically, to draw in readers and get them hooked.

It’s crucial you seriously understand the exact genre you are writing in because those readers who pick up your work have hopes. And you must meet those beliefs, or “youre going to” dishearten them.

It’s as simple as that.

Regard Carefully at First Scenes

I’ve written thousands of words in my notebooks and blog posts about first backgrounds. In detail, I have an entire book devoted to just first pages of best sellers–analyzing, rending them apart, to show you what works and what doesn’t.

You should be doing this same type of homework, whether you write fiction or nonfiction. There is a target audience for your bible, maybe hundreds of readers–readers who would love your book.

But you aren’t going to reach them or delight them unless you first identify what they look for in a journal like yours.

It really isn’t rocket science.

If you write YA romance, you grab a dozen or more best sellers in that category and you study hard-boiled how those representations are written. It’s not just about coming up with a great plot and appropriate character types and call it good.

You have to look at voice, statement selection, portion of sentences, duration of periods, sum and type of description, and the roll goes on and on.

But the two most important “markers” you need to study are the writing style and the microtension.


Because it’s the writing style that fascinates and screams “genre” to the reader. And it’s the microtension that grabs them and keeps them reading. Without mastering these two elements and nailing them, you may as well toss your bible project into the little trash icon on your computer.


Microtension is all about raising curiosity in your book. Every word, utterance, and sentence that gives your reader pause and manufactures them bizarre equates to microtension.

Go through those best sellers and highlight those bits on each sheet that establish you wonder what is going on, why that one word was used, what the author is implying, what might happen next.

How numerous words and terms did you spotlit? That tells you what you need to do on every page of your romance or short story.

If you can print out this blog berth, do so, then try military exercises with the legislation I share below from Marcus Sakey’s third bible in his Brilliance series, Written in Fire.

Item of View

Take a look at how Sakey organizes strong interest by extending late into POV.

If you haven’t noticed, most successful commercial-grade fictions of our time are told in deep POV. That means you are in the character’s head, in his singer, every statement of every path. This is not the author order and clarifying what the tale is about. This is all about appearance minutes in real term absolutely through a character.

If you write fiction, and you haven’t mastered deep POV, you need to put your writing on Pause and study this procedure. You will have a hard time viewing success with your stories if you don’t do this.

Writing Style

I want you to too take a look at the writing auto-mechanics in this scene. The mode you, the reader, are made to pause, pay attention to specific names. That’s done with the use of short-lived( sometimes one-word) decisions. They are like strong punctuation marks.

Beautiful writing plucks in literary manoeuvres. You’ll note Sakey applies anaphora–repetition of a starting word in several positions of textbook. Using literary inventions doesn’t mean you are writing highbrow or complex sentences hard to understand. But doing so can elevate your writing.

With this type of suspense/ thriller genre, a novelist needs to write tight. Every word counts. That should be the case no matter what you write. But some genres are wordy and flowery, and books expect and want that.

Do I need to remind you? Do your category homework, and reproduce what the best-selling, best-loved writers do.

As you read this partial scene, virtually a prologue, listen to the character’s voice, assure whatever it is you learn about him soon, and mention those parts that create curiosity in you. What is odd, singular, unexpected, surprising, repugnant?

After you read a great scene in your targeted category, do this kind of analysis. Highlight the textbook in your Kindle, or mark up a paperback. I always buy paperbacks so I can do this type of homework in the pages, expending different colourings to highlight different things.

I learn a lot. You will too.

So … dig into Sakey’s scene and discover what you notice 😛 TAGEND

Written in Fire

This must be what God feels.

A single glance at my outstretched hand and I know the number of hair follicles clothing the back of it, can distinguish and quantify the darker androgenic strands from the barely palpable vellus hairs.

Vellus, from the Latin, making fleece.

I summon the sheet in Gray’s Anatomy on which I learned the word and examine the diagram of a hair follicle. But likewise: The quality and entwine of the working paper. The attenuation of light-headed from the banker’s lamp that illuminates it. The sandalwood perfume of the girl three chairs down. I can conjure these details with excellent precision, this utterly forgettable and forgotten instant that nonetheless was imprinted in a cluster of intelligence cells in my hippocampus, as every other moment and event of “peoples lives” has been. At a whim I can trigger those neurons and bush forward or backward to relive the working day with full erotic clarity.

An unimportant day at Harvard thirty-eight years ago.

To be precise, thirty-eight years, four months, fifteen hours, five minutes, and forty-two seconds ago. Forty-three. Forty-four.

I lower my hands, feeling the expansion and constriction of each individual muscle.

The world hastes in.

Manhattan, the region of 42nd and Lexington. Vehicles and structure rackets and multitudes of lemming-people and cold December air and a give of Bing Crosby singing “Silver Bells” from the opening door of a cafe? and the smells of exhaust and falafel and urine. An abuse of impression, unfiltered, overwhelming.

Like descending a staircase and forgetting the last step, empty-bellied air where solid flooring was expected.

Like sitting in a chair, then noticing it’s the cockpit of a fighter jet disappearing three times the speed of sound.

Like lifting an abandoned hat, only to discover it remains on a severed head.

Panic drenches my surface, panic encloses my figure. My endocrine system drops adrenaline, my schoolchildren widen my sphincter tightens my paws clench–




Mantra: You are Dr. Abraham Couzen. You are the firstly person in record to transcend the border between ordinary and abnormal. Your serum of non-coding RNA has radically adjusted your gene showing. A genius by any measure, you are now more.

You are brilliant.

People flow around me as I stand on the corner, and I can see the vector of each, can predict the moments they will cross and bump, the slowed step, the itched joint, before they happen. I can, if I bid, screen everything down to fronts of gesture and impel, an interactive map, like a fabric weave itself.

The scene goes on for another page, and Couzen realises he’s being watched. After examining the stimuli that tells him this knowledge, we speak the last threads of the representation 😛 TAGEND

They are many, they are armed, and they are here for me.

I roll my neck and fracture my fingers.

This should be interesting.

That’s the conclusion of its scene.

Other Observations

I hope you noticed the inventive space Sakey tells readers who this reference is and what he’s done( a doctor who’s developed a serum that can make any “normal” into a “brilliant” or abnormal human, and he’s experimented on himself as his first human theme ). He does this in POV. Not writer ending and clarifying to the reader. Having Couzen recite this mantra obligates sense.

Whether you’ve speak the two prior books or not, Sakey does a “brilliant” job of adjusting the stage, bring back the claim of his succession( likewise his theme ), developing friction( internal and outer) and feeing conflict( inkling at high posts ), showing ardour and form awareness( important !).

Look at the white space on the page. Did you be seen to what extent interspersing between long clauses and short, tight directions( even a word or two) keeps the reading fresh and interesting? If he had written all very long paragraphs, consider how that would have impacted your reading.

Try this with your own writing, especially if you tend to craft long paragraphs OR clauses that are almost all the same length. Think about those pauses and where you need to create them. Where is it you people want books to slow down or speed up? This is done with writing style and mechanics.

I hope you will start doing this type of analysis with every notebook you read. Especially note what’s not working and what’s lacking in notebooks that bore you.

For every “brilliant” book I look at( I pick up a lot of free fictions on Amazon for my Kindle precisely to do this type of analysis ), there are about fifty others that are boring, inadequately written volumes. And these two elements are generally the dominant the justification for novel fail.

Two key elements: writing style and microtension. Don’t leave home write any scene without them!

Share in the comments your thoughts and reactions to this passage. What stands out to you as bright? What did you learn from this post and this examination?

Featured Photo by Soroush Karimi on Unsplash

The post The 2 Key Elements That Make a Great Scene first appeared on Live Write Thrive.

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